{"id":163,"date":"2018-10-19T04:33:42","date_gmt":"2018-10-19T04:33:42","guid":{"rendered":"https:\/\/www.asianarthistories.com\/artandaction\/?page_id=163"},"modified":"2018-11-16T09:18:22","modified_gmt":"2018-11-16T09:18:22","slug":"speakers-abstracts","status":"publish","type":"page","link":"https:\/\/www.asianarthistories.com\/artandaction\/speakers-abstracts\/","title":{"rendered":"Speakers & Abstracts"},"content":{"rendered":"

Panel 1<\/strong>
\nOld Codes New Meanings:<\/strong>
\nAspects of Tradition in Contemporary Southeast Asian Art<\/strong><\/a><\/p>\n

Not to Ignore Artists:
\nTang Chang as Recluse and Cultivator of the Audience and an (Alternative) Art Scene in Bangkok<\/a>
\nOrianna Cacchione, Smart Museum of Art, University of Chicago<\/p>\n

A Debate between Tradition and Future:
\nArt in Laos from 1991.<\/a>
\nAnna Koshcheeva, MA graduate, LASALLE College of the Arts<\/p>\n

Not Nostalgia:
\nHow Tradition is Coopted for Critical Function in Southeast Asian Contemporary Art\u2013 Indonesian, Thai, Vietnamese, Singaporean, Filipino and Burmese Examples Compared<\/a>
\nIola Lenzi, Art Historian and Curator, adjunct lecturer, LASALLE College of the Arts<\/p>\n

\n

Panel 2<\/strong>
\nStealing Public Space:
\nHow Southeast Asian Contemporary Art Engages with the City<\/strong><\/a><\/p>\n

Visions of New Urban Space:
\nHanoi as an Art Subject<\/a>
\nNatalia Kraevskaia, Vietnam National University (International School), Hanoi<\/p>\n

Boundary Creeping in Anida Yoeu Ali\u2019s The Buddhist Bug:
Intersections of the Body, Religion and the State in Singapore<\/a>
\nAnnie Jael Kwan, Independent Curator, London<\/p>\n

Indonesian Environmental Art:
\nIntersecting Nature, Politics and Cultural Heritage<\/a>
\nEdwin Jurri\u00ebns, Asia Institute of the Faculty of Arts, The University of Melbourne, Visiting Fellow. School of Humanities and Social Sciences, The University of New South Wales (UNSW) Canberra<\/p>\n

\n

Panel 3<\/strong>
\nWord-play as Clue and Cue:
\nThe Place of Text in Contemporary Southeast Asian Art<\/strong><\/a><\/p>\n

Reading between the Lines:
\nThe Arabic Script in Contemporary Indonesian Art<\/a>
\nLuke Chua, Independent Researcher, Singapore<\/p>\n

Remembering Landscape:
\nTang Chang\u2019s Late Work<\/a>
\nChanon Kenji Praepipatmongkol, Marjorie Susman Curatorial Fellow, Museum of Contemporary Art Chicago.<\/p>\n

\n

Panel 4<\/strong>
\nDirect Dissemination:
\nComics and Popular Media<\/strong><\/a><\/p>\n

Komiks in Campaigns:
\nConsuming the \u2018Superhero\u2019<\/a>
\nKarl Ian Uy Cheng Chua, Director of the Japanese Studies Program and Assistant Professor of the Department of History of the Ateneo de Manila University<\/p>\n

Transformational in Form, Socialist in Content:
\nAn Exploration of the Aesthetics and Content of Comics for Adults by Nguyen Thanh Phong<\/a>
\nBui Thi Thanh Mai, Lecturer and Researcher in Art History, Vietnam Museum of Fine Arts<\/p>\n

Making the Art of Charlie Chan Hock Chye:
\nPractical Applications of Comics Theory in the Formal and Narrative Experiments of The Art of Charlie Chan Hock Chye<\/a>
\nSonny Liew, comic artist, painter and illustrator<\/p>\n

\n

Panel 5<\/strong>
\nNot Lagging; Sometimes Leading:
\nTracing the Implications of Technological Parity<\/strong><\/a><\/p>\n

The Archive as Producer:
\nAbednego Trianto\u2019s Postcolonial Appropriation.<\/a>
\nAlexander Supartono, Lecturer, Edinburgh Napier University<\/p>\n

Beyond Representation:
\nAction, Art, and Performance Art in Indonesia<\/a>
\nThomas Berghuis, Independent Researcher, The Netherlands<\/p>\n

From Practice to Theory to History and Back, a Journey through Photographic time.<\/a>
\nGilles Massot, Lecturer, LASALLE College of the Arts, Singapore<\/p>\n

\n

Panel 6<\/strong>
\nDaring Canon:
\nAssessing Art Historical Narratives of Southeast Asian Contemporary Art<\/strong><\/a><\/p>\n

The Russian Connection<\/a>
\nCharles Merewether, Curator, Georgian National Museum<\/p>\n

Revision\u2013Artists who Readdress Art\u2019s History<\/a>
\nVera Mey, PhD candidate, SOAS, University of London<\/p>\n

Entry Points:
\nResonating Histories of Punk & Performance in the UK and Southeast Asia<\/a>
\nStevphen Shukaitis, Senior Lecturer, University of Essex<\/p>\n

\n

Panel 7<\/strong>
\nFrom the Rural to the Urban: A Place for The Artists Village in the City<\/strong>
\nConvened by Adrian Tan, Researcher, Nanyang Technological University<\/strong><\/a><\/p>\n

The Artists Village:
\nThe Rural as Fringe and Alterity<\/a>
\nSeng Yu Jin, Senior Curator, National Gallery of Singapore<\/p>\n

The Artists Village:
\nNegotiating and Engaging the City<\/a>
\nAdrian Tan, Research Scholar, Nanyang Technological University<\/p>\n

In Search of the Collective in The Artists Village<\/a>
\nWoon Tien Wei, artist-curator, Singapore<\/p>\n

\n

Panel 8<\/strong>
\nArtist\u2019s Panel<\/strong><\/p>\n

Arahmaiani (Indonesia)<\/a><\/p>\n

S. Chandrasekaran (Singapore)<\/a><\/p>\n

Imelda Cajipe Endaya (Philippines)<\/a><\/p>\n

Yee I-Lann (Malaysia)<\/a><\/p>\n

\n

Closing Lecture<\/strong><\/p>\n

\u2018Tradition into Modern, Modern into Contemporary\u2019, a Habitual Interpretation via Thai examples.<\/a>
\nJohn Clark, Professor Emeritus, University of Sydney<\/p>\n","protected":false},"excerpt":{"rendered":"

Panel 1 Old Codes New Meanings: Aspects of Tradition in Contemporary Southeast Asian Art Not to Ignore Artists: Tang Chang as Recluse and Cultivator of the Audience and an (Alternative) Art Scene in Bangkok Orianna Cacchione, Smart Museum of Art, University of Chicago A Debate between Tradition and Future: Art in Laos from 1991. Anna […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-163","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P9Codm-2D","jetpack_likes_enabled":false,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.asianarthistories.com\/artandaction\/wp-json\/wp\/v2\/pages\/163","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.asianarthistories.com\/artandaction\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.asianarthistories.com\/artandaction\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.asianarthistories.com\/artandaction\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.asianarthistories.com\/artandaction\/wp-json\/wp\/v2\/comments?post=163"}],"version-history":[{"count":15,"href":"https:\/\/www.asianarthistories.com\/artandaction\/wp-json\/wp\/v2\/pages\/163\/revisions"}],"predecessor-version":[{"id":237,"href":"https:\/\/www.asianarthistories.com\/artandaction\/wp-json\/wp\/v2\/pages\/163\/revisions\/237"}],"wp:attachment":[{"href":"https:\/\/www.asianarthistories.com\/artandaction\/wp-json\/wp\/v2\/media?parent=163"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}